Five More Not-So Terrible Film Adaptations of Video Games Ideas (We Hope)
Written by Andreas Babiolakis
A lot has changed since I first entertained the idea of trying my hand at conceptualizing five cinematic adaptations of adored and celebrated video game properties. Firstly, we have actually found out that video games can be adapted into worthwhile films and television series (but, sadly, not always). I’ve also noticed how many of my previous ideas came to fruition (well, some of the games — The Last of Us, Twisted Metal, and an upcoming The Legend of Zelda film — did, anyway; still waiting on Red Dead Redemption and the Metal Gear Solid franchise to have their turns). Seeing as the Minecraft film was recently released and The Last of Us returns for its anticipated second season this next Sunday, I felt like this article could be revisted. That’s right: five more games that deserve the adaptation treatment (now, I technically cheated with one, since it already has an adaptation of sorts, but hear me out with my vision). Some are quite obvious, and others are video games with untapped potential.
The regulations will stand as they did once before. I want all of these films to be live action adaptations, since I believe that they were animated or artistically enhanced as well as they could be via the video game medium (and, honestly, I don’t think some of these games can be bettered via animation, but for maybe one title, I’ll entertain the idea). I don’t think my concepts are flawless and you can feel free to poke holes in any of my ideas (the video games that did get adapted the last time I made such an article were quite different than how I theorized they should be translated to screens big and small), but I wanted to have a bit of fun with these possibilities again. I will also repeat my note from my previous article verbatim:
I’m not casting roles solely based on looks, because acting is about much more than resemblance. Also, I’m not going to even attempt casting every single character, and am only offering a handful from each game. Those selected do not mean they are the most important roles of each game. Again, this is a casual attempt, and not a serious pitch to studios.
BioShock
Director: Denis Villeneuve
Performers
Jack: Oscar Isaac
Atlas: Tom Hardy
Dr. Brigid Tenenbaum: Danielle Deadwyler
Andrew Ryan: Ben Mendelsohn
Honestly, given how popular the 2K franchise has been, I’m shocked that there isn’t a BioShock film or television series yet. I think one stand alone film would do, and someone who is equal parts unnerving and stylish (like, say, Denis Villeneuve of Dune and Arrival fame), could pull this adaptation off. As we dive into the underwater, crumbling empire of Rapture, we see a civilization that was left and abandoned while an amnesiac lone-wolf, Jack, traverses its corridors to rediscover himself and try to stop the powers that be Of course, BioShock is known for its tremendous twist, which I think would translate well on the big screen if handled appropriately, and if the casting is done right, any characters who have to pivot will be able to sell this twist.
However, what BioShock is also famous for is its meta take on the illusion of freedom within video games (can players do whatever they see fit, or can they only obey the limited options presented to them), and this may be a lot trickier to carry over into a film format; how would a director convey the same idea without the same capabilities? Perhaps this reason alone is why BioShock has been left alone. Even so, I think that the game — especially the first entry (which I have clearly focused my concept on) — is begging to be adapted into something poignant, as long as any willing director and producers don’t focus solely on the action elements of BioShock as to not waste the potential of the brilliant story. So, dear filmmakers of the world, would you kindly make a great BioShock adaptation at some point?
Disco Elysium
Director: Steven Soderbergh
Performers
Harry: Nick Offerman
Kim Kitsuragi: Tadanobu Asano
Joyce Messier: Emma Thompson
Klaasje: Alicia Vikander
Evart Claire: Timothy Spall
Disco Elysium is perfect as a game, given its endless possibilities presented in its table-top, RPG format (you couldn’t replay this game in the exact same way as your first time even if you tried). Filled with thousands of options as you play a disgrace of a detective — who has lost all concept of himself as a person — within the murky, miasmic world of Elysium, Disco Elysium is an experience that reenacts the calamitous dog-piling of one’s intrusive thoughts. I think this would make for one hell of a film if handled well. However, I foresee run-of-the-mill directors turning Disco Elysium into a silly, pseudo-meta flick that would completely miss what such a film could be. Then again, if a director handles Disco Elysium too seriously, they would be missing the charm and fun side of the RPG (and the game’s goofy yin is as crucial as its existential yang). I think the right way to go about this adaptation is to hire a director who is capable of both the fun and the harrowing natures of Disco Elysium, so a versatile auteur like Steven Soderbergh who would also know how to handle the stylish visuals of the game.
Now, I have laid out the origins of what a possible cast could be, but — despite my regulations listed above — I do think that, while a live action version of Disco Elysium would be unique and possible, an animated film based on the game would be fantastic (just look at the game). Why I am wavering a little bit with this one title is because of how simplistic the movement in the game is (granted, it is an indie title that prioritized how it played and looked as opposed to how it moved), and knowing that there could be a fully-animated version of this cherished property is a reality I cannot simply shrug off. I suppose should the film be animated, we have to go with the original voice cast selections of the Final Cut version of the game (if possible). It’s time to get existential, folks. Make Disco Elysium the Pynchon-esque cinematic soul search we know it can be.
God of War
Director: Robert Eggers
Performers
Kratos: Dave Bautista
Atreus: Jacob Tremblay
Freya: Gemma Arterton
Baldur: Christian Bale
God of War shifted from being a button-mashing bloodfest full of rage-inducing puzzles and epic battles with Greek Gods (within the nation’s mythological, geographical, and historical confines) to becoming a more poetic, pensive look at life, death, grief, and maturation via Norse mythological connections. I love both eras of God of War for different reasons, but not only is the 2018 God of War one of the greatest games I’ve ever played, it feels like it would make the most sense to adapt into a film (should any of these games be adapted). The game reads as far more cinematic than its predecessors; there is the backstory necessary to understand Kratos, but I feel like the 2018 game handles it well enough that those who would start with this game than the originals can still follow along (and the film would read the same way).
There is God of War: Ragnarok which is just as cinematic and narratively strong as God of War is, but I’d leave that sequel out of this film and save it for — you won’t believe this idea — the cinematic sequel should a film adaptation of God of War succeed. I think the franchise’s affinity for historical and mythological richness would need to be met, and who better than a director like Robert Eggers to bring this lore to life? Eggers has also showcased his visceral approach to ruthless action via The Northman which would work incredibly well for God of War and Kratos’ inability to escape his past — and present — of slaughter. Seeing as the game is made to feel like one unbroken sequence, I don’t think shooting the film as a one-take experience is essential but it would certainly feel faithful (for the daring director who would want to take this on). However, I can see God of War being handled awfully by the wrong director, and that would be a crying shame.
Papers, Please
Director: Edward Berger
Performer
Inspector: LaKeith Stanfield
The beauty of Papers, Please — one of the most successful indie games ever made — is that it is incredibly simplistic in design (and yet its story is far more layered than it leads itself on). Now, before I proceed, I am fully aware that there already is a short film based on Papers, Please (found here). I think the work here beautifully handles the sense of what the fictional nation of Arstozka would look like in film form. However, I feel like its story only goes so far when the game has much more plot to offer. Thus, I propose a feature film that takes a different angle identity-wise (as to not feign the idea that the short film did a poor job of recreating the world of Papers, Please) while having enough time to get into the crux of the indie game’s complicated premise amidst its basic guise: a newly-selected border agent having to make difficult decisions within a hostile political climate to save his family, his nation, and himself.
A director like Edward Berger (All Quiet on the Western Front, Conclave) would know how to evoke the cold, blue style of the game while also being able to dive into the narratively pulpy nature of Papers, Please. I feel like the film could go one of two ways with its casting: one central superstar surrounded by many unknown actors (maybe even non-professionals, to give an Italian Neorealist angle), or a newcomer as the lead, unnamed border agent with a strong cast surrounding them. I’d opt for the former, since the border agent carries a lot of responsibilities (and, effectively, the film as a whole), and having many lesser known actors to fill up the rest of the screen could lead to fewer distractions and more possibilities for hyper-realism to bring Papers, Please to life.
Shadow of the Colossus
Director: Chloé Zhao
Performers
Wander: D'Pharaoh Woon-A-Tai
Dormin: Idris Elba/Cate Blanchett
Mono: Ho-yeon
Finally, we end on a proposal for an adaptation that could lead to either the best video game film of all time, or one of the absolute worst (if mishandled). Shadow of the Colossus is unquestionably one of the most beautiful games ever made. Its minimalist storytelling, overexposed brightness, and powerful twist make it an idiosyncratic gaming experience. It is perfect as is, but I cannot help but wonder what a film version of the game would be like. As to not bastardize the possibility, I’d elect someone who works with natural lighting and gorgeous aesthetics, the bare souls of characters, and textured storytelling, like Chloé Zhao (Nomadland); even though her stint with Marvel and Eternals was a waste of time, at least this project allowed the auteur to work a little bit with action sequences and epic scales (a must for taking on Shadow of the Colossus).
We follow Wander: a young nomad who will do anything to bring Mono back to life, and begins listening to a random entity named Dormin (voiced by both a male and female actor, hence my casting above); Dormin instructs Wander to kill all sixteen of the colossi that traverse the lands. We’d follow Wander on his brutal conquest all in the name of grief and love, while we slowly learn the truth of Dormin’s request and Wander’s fate. Sixteen colossi is many for a simple feature film, and I’d fear that having all of them would prove to be repetitive and boring. The feature film could either cut down to a handful of colossi (say, three or five, as long as the final colossus remains in the story), or Shadow of the Colossus would be best served as a miniseries, with each episode devoted to one colossus (including the journey to get there, and the goings-on around Wander, like the eventual journey and arrival of Lord Emon and his troupe of warriors). Either way, if the adaptation focuses on the themes of regret and sacrifice by the Shadow of the Colossus’ original director, Fumito Ueda (who should certainly be involved in this project in any capacity), we could have a breathtakingly devastating epic on our hands.
Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Toronto Metropolitan University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.